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Have a Cola and Smile, Bitch! Commodification and Revolution in Boots Riley's Sorry to Bother You

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Have a Cola and Smile, Bitch! Commodification and Revolution in Boots Riley's Sorry to Bother You HAVE A COLA AND SMILE, BITCH! COMMODIFICATION AND REVOLUTION IN BOOTS RILEY'S SORRY TO BOTHER YOU Stanić, Ivan Source / Izvornik: Zbornik radova Međunarodnog simpozija mladih anglista, kroatista i talijanista, 2020, 83 - 91 Conference paper / Rad u zborniku Publication status / Verzija rada: Published version / Objavljena verzija rada (izdavačev PDF) Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:172:122754 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-27 Repository / Repozitorij: Repository of Faculty of humanities and social sciences ISBN 978-953-352-056-8 FILOZOFSKI FAKULTET SVEUČILIŠTA U SPLITU ZBORNIK RADOVA MEĐUNARODNOGA SIMPOZIJA MLADIH ANGLISTA, KROATISTA I TALIJANISTA JOURNAL OF INTERNATIONAL SYMPOSIUM OF STUDENTS OF ENGLISH, CROATIAN AND ITALIAN STUDIES Zb. rad. međ. sim. ml. angl., kroat. i tal. 2020 Str. 127 Split, 2020. ZBORNIK RADOVA MEĐUNARODNOGA SIMPOZIJA MLADIH ANGLISTA, KROATISTA I TALIJANISTA Izdavač / Publisher Sveučilište u Splitu, Filozofski fakultet / University of Split, Faculty of Humanities and Social Sciences, Poljička cesta 35, 21000 Split Odgovorna urednica / Chief Gloria Vickov Urednice / Editors Petra Božanić Ana Ćurčić Recenzenti / Reviewers Lucijana Armanda Šundov, Gorana Bandalović, Marita Brčić Kuljiš, Ivan Cerovac, Katarina Dalmatin, Gordana Galić Kakkonen, Krunoslav Lučić, Nebojša Lujanović, Anita Lunić, Nikica Mihaljević, Ivana Petrović, Iva Polak, Antonija Primorac, Simon Ryle, Mirjana Semren, Nikola Sunara, Brian Daniel Willems Lektura i korektura / Language Editors and Proofreaders Lektorica za hrvatski jezik / Croatian language editor and proofreader: Petra Božanić Lektori za engleski jezik / English language editors and proofreaders: Ivana Bošnjak, Toni Ćapeta, Ivica Jeđud Adresa Uredništva / Editorial Board Address Poljička cesta 35, HR – 21000 Split e-adresa: [email protected] Zbornik se objavljuje prema odluci donesenoj na sjednici Fakultetskoga vijeća Filozofskoga fakulteta u Splitu dana 11. studenog 2020. godine. Stanić, I.: HAVE A COLA AND SMILE, BITCH!... Zb. rad. međ. sim. ml. angl., kroat. i tal. (2020), str. 83–91. Izvorni znanstveni rad Primljeno 22. veljače 2020. Ivan Stanić University of Zagreb, Faculty of Humanities and Social Sciences [email protected] HAVE A COLA AND SMILE, BITCH! COMMODIFICATION AND REVOLUTION IN BOOTS RILEY'S SORRY TO BOTHER YOU Summary The 2018 film Sorry to Bother You marks the directorial debut of American hip-hop artist and activist Boots Riley. The film focuses on and critiques many different aspects of contemporary capitalism, from the destruction of the welfare state, a new management style with a friendly face, the reification of humans under late capitalism, and the dissolution of the difference between wage work and slavery to the numbing effect of the media and their tendency to either fully deface or commodify various forms of protest. In this paper I intend to analyze the latter aspect of the film, the commodification of protest and of potentially revolutionary acts on the examples of the TV spectacle created from the protests at Regal View, including the popularity of the “Have a Cola and smile, bitch!” incident, and the destiny of the supposedly revolutionary art made by the protagonist’s girlfriend Detroit. Furthermore, taking a step back and considering the rise in popularity of socialism among young Americans, I intend to analyze the possibility of the film itself being a revolutionary act, and what kind of shift that could create in the current cultural hegemony. Key words: commodification, recuperation, interpassivity INTRODUCTION The 2018 film Sorry to Bother You marks the directorial debut of American hip-hop artist and activist-become-director Boots Riley, a well-known activist for workers' rights and self-described communist. The main focus of the film is the current state of the neoliberal economic system, as well as a bleak outlook on where its future might lie. For the main setup of the film Riley chooses a telemarketing company, the kind of work that explicitly connects the key components of contemporary capitalism in the film: human interaction, virtual sales, management ‘with a friendly face’, and technology. All those elements combine to create an environment of alienation from work and from one another, which leads to both the protests, which are the central point of the film, and to the reaction of the police and the public to those protests. In this paper I intend to analyze the commodification of protest and of potentially revolutionary acts on the examples of the TV spectacle created from the protests at Regal View, including the viral popularity of the “Have a Cola and smile, bitch!” 83 incident, and the destiny of the supposedly revolutionary art made by the protagonist’s girlfriend, Detroit. In addition to that, I intent to analyze whether the revolutionary acts in Riley’s film can be deemed a success or not based on the inclusion of the sci-fi/fantasy element of Equisapiens in the final third of the movie. ANALYSIS In order to begin this analysis, one first has to define the key concept used throughout this paper: commodification. Referring to Karl Marx, Ziółkowski writes that “a commodity is a product or service or, even more broadly, any social relation - which has exchange value and can be bought or sold on the market. In other words, commodification is the process whereby an object becomes a commodity, with a price of its own, and is put on the market.” (2004: 387) Following this line of reasoning, the commodification of protest and of revolution would be the placing of the act of dissent on a market where it loses its revolutionary potential and becomes just one of many commodities, perhaps best exemplified by the popularity of T-shirts with the figure of Che Guevara on them. Such T-shirts have become a sign of protest and of opposition to the prevailing regime, but an utterly weak sign, a total commodification of the actions of a popular revolutionary figure with the aim of draining any active revolutionary potential from his figure and his actions – wearing a Che Guevara T-shirt could be considered as much an act of revolt as staging a protest. The protagonist of the film, Cassius Green, his name a pun on the phrase ‘cash is green’, works at a telemarketing company called Regal View along with his girlfriend Detroit and his friends and coworkers Salvador and Squeeze. Cassius struggles with his job at first, unable to convince any of his customers to buy the products he is selling, until his older coworker Langston reveals to him the secret of white voice1, described by Boots Riley in an interview with Democracy Now as follows: “White people don’t even have it. They use it, and it’s a performance. There’s a performance of whiteness that is all about saying that everything is OK, you’ve got your bills paid, and that—and, you know, this kind of smooth and easy thing.” (Democracy Now 1, 2019) The white voice serves as a commodifying instance throughout the film; once Cassius adopts it, he suddenly becomes the top salesman in the office and is soon given the chance to join the upper echelon of telemarketers, the so-called ‘Power Callers’, a group of elite telemarketers who specialize in selling arms and the labor force of a company called WorryFree, where the workers work under lifetime contracts with accommodation and with no pay, a form of work and life arrangement eerily 1 The racial suggestion of white voice is made explicit in the film, and once Cassius adopts it he starts 'blending in' with the mostly white 'Power Callers.' His superior, Mr. _____, is another black man who uses white voice in the film, and the suggestion is that he has been doing so to the extent that he has lost his own name in the process and what remains is Mr. *Bleep*. The racial suggestions of white voice, however, are not the topic of this paper and as such will not be discussed in further detail. 84 resembling that of slavery. However, at the same time as Cassius’ career takes an upward turn, his colleagues at Regal View form a union and demand higher wages and better working conditions. They stage protests in front of the company headquarters and form a picket line to try and prevent management and the Power Callers from getting inside. With the assistance of an aggressive police squadron, the latter, including Cassius, manage to enter the building. The conflict between the protestors and the police is televised and soon becomes the top news on TV, with the workers’ demands and actions trivialized in favor of capturing the physical conflict between the protestors and the police. A similar course of events can also be seen in the TV reports of another protest taking place at the time, the protest against the slavery-like accommodation and working conditions at WorryFree. The two protests become TV spectacles and the violence displayed in them is juxtaposed to the most popular entertainment show in the film, I Got the Shit Kicked Out Of Me, in which contestants endure various kinds of beatings in exchange for money. In a sense, the news reports of the protests compete for viewership with each other and with the entertainment show, with the show being the clear winner with 150 Million viewers per episode. Forms of violence are displaced onto the screen and the act of protest becomes a spectacle, a model in which images and representations are accumulated and mediate the relationship between people and which, according to Guy Debord, has become dominant in the contemporary world (2005: 7–8, 11). Following the theory of the spectacle, what happens with the protest once it becomes a TV spectacle – a series of images of violence which at the same time satisfy the displaced desire for violence and create an image of the protest movement as both violent and unable to seriously harm the assaulting police force – is that it undergoes recuperation, a process defines by Chasse et al as “the activity of society as it attempts to obtain possession of that which negates it.” (Situationist International Online, 1969) By recuperating2 the act of the protestors, it becomes part of the existing system instead of being an attempt of its negation.
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